Hell is Us Dev Talks Creating a Gritty World of Emotions

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In the game titled “Hell is Us“, players assume the character of Remi, a UN peacekeeper who was secretly born in this world named Hadea and later smuggled out. His mission is to return to his homeland with the UN in search of his parents. However, upon arrival, he encounters an ongoing civil war and mysterious supernatural entities that appeared following some catastrophic event. Despite its perilous exterior, it’s the inner struggles and personal demons that players must confront in “Hell is Us“.

Following approximately three hours of gameplay with “Hell is Us“, Game Rant had an engaging conversation with the creative director and art director, Jonathan Jacques-Belletête. Our discussion encompassed topics such as how exploration functions within the game, the methods employed by Rogue Factor to create the grim world of Hadea, and a peek into their design process for enemies/bosses in the game. Please note that this transcript has been streamlined for better understanding and conciseness.

Why Hell is Us Doesn’t Have Map Markers or Mini-Maps

A: Is it noticeable that many modern games are focusing more on exploration, while minimizing or eliminating features such as map markers and mini-maps? I’m intrigued to understand the appeal of this approach in game design. What aspects make it an attractive part of your design philosophy?

Initially, our design process took off about five years back, slightly before the latest trend. It seems it was sparked due to a sense of growing weariness towards open-world games and those that offer an overabundance of content right away. At that point, there weren’t many games really embracing this concept, so we embarked on it based on our inclination.

During our game creation process, there came a point where we sensed a shift – as if the cultural moment had begun. It wasn’t just us, it seemed. This discovery was thrilling because it suggested we were onto something, yet at the same time, it felt a bit daunting to realize others might be thinking along similar lines. However, the truth is, no major game was doing what we were starting when we began. There were hints of innovation in some indie games due to their experimental nature, but this idea was primarily our own, born out of a desire to explore and see how far we could push the boundaries while still creating something accessible and enjoyable for players.

Q: What do you think it adds to the game that traditional map markers or mini-maps wouldn’t?

B: The thrill lies in genuine exploration, where players take charge, rather than mimicking the act of discovery by sticking to predefined paths. Imagine playing Skyrim, for instance, despite having completed every Elder Scrolls game since Arena – it’s all about silver platting. Every rock you approach triggers a side quest, and there’s always something new to discover as you walk around, which can be both exciting and overwhelming. Instead of genuine exploration, it feels like wading through a fog of tasks to complete.

From a philosophical perspective, I’ve come to realize that true exploration and discovery isn’t about the fantasy or the destination itself. It’s about the journey, the personal decisions we make along the way, and the insights we gain as we navigate through uncharted territory. The thrill comes from trusting our instincts, making sense of new environments, and understanding the needs of those we encounter. It’s the self-discovery that happens in the process, the cognitive decisions we make to find our path, that makes us feel truly adventurous. And when we reach the end, it’s not just about what we discover, but how we got there – that’s the essence of who we are.

Initially, games were much like that for various causes. However, we discovered methods to make them more accessible, but along the way, perhaps we strayed too far from the original path. Now, in our unique fashion, we’re aiming to slightly rebalance things and return to a more balanced approach.

That’s fair. I do like how I just walked up on a hermit and a random shed in the middle of nowhere.

What makes this intriguing is that the man’s hidden talents and noble actions are like a mystery spanning across the entire game map. The appeal lies in the fact that you, as a player, don’t know about these elements upfront. While the main plot and supporting details provide clues, they are more clear-cut and easy to comprehend. However, with this man, you embark on an unknown journey without knowing where it will take you, which adds to the excitement of exploration and discovery.

It’s intriguing! I wouldn’t have anticipated that he would be involved in events spanning across multiple maps. Is there a significant difference, then, between encounters that span the map and single occurrences, regarding their balance or symmetry?

Sure thing!

Yes, we have a blend of these aspects, indeed. However, we haven’t precisely determined the ideal equilibrium among them. It’s something that continues to engage our thoughts, but it’s certainly not straightforward. Some experiences may provide the answer, while others might lead us to the next stage. Some situations could span multiple maps, and some could be self-contained puzzles that require solving. We encounter a variety of each type in our journey.

Putting the Hell of Us in Hell is Us

As a devoted admirer, I must say that your work often leaves me in awe, but the scene of a mass grave with a father mourning his deceased child was particularly impactful and raw. It truly struck a chord within me. From an artistic standpoint, could you share some insights on how you managed to portray such realism and grittiness in your creation process?

A: Regrettably, there are numerous references throughout human history. When dealing with my team, particularly those who create or conceptualize these items, I’ve made sure to be thoughtful and cautious. For instance, when it comes to the modeler, many of them were familiar faces from past collaborations. However, for the new ones, their personalities and preferences are unknown, so I always inquire about their comfort level when working with such subject matter.

Since there are children involved too, it was made clear from the start that I don’t want any scenes of violence towards humans. As a player, you never inflict pain on humans in the game because that was a rule. We’re presenting intense situations without adding more distress by having you cause harm. In this game, enemies are not humans but rather monsters. I’ve aimed to be sensitive to players throughout the development process.

In discussing The Last of Us Part 2, I recall an article delving into the graphic violence depicted within the game. Creating such gruesome visuals requires a level of detail that suggests they studied in depth what dismemberment looks like under high magnification. Of course, it’s crucial to ensure those responsible for these disturbing scenes were psychologically sound. As for us, we don’t aspire to replicate their precision – not only because we lack the same budget, but also because our aim is not to achieve that level of detail.

If you examine these images (though I’m not suggesting you should), you might find yourself focusing on the fact that they depict mere bodies in scenes of conflict. It becomes clear that clothing is designed to cling to living individuals. You may notice that even in such tragic circumstances, clothing appears loose and seems to be barely covering the people. Upon closer inspection, you’ll see that those lying on the ground are often missing shoes and have their pants down, which is a detail we found ourselves fixated on.

In many video games, you can create a deceased character by knocking down an NPC, placing them on the ground, and adding blood beneath them. However, this isn’t how things work in reality. Blood rapidly loses its brightness and is not usually visible for long periods. Moreover, there isn’t as much blood as one might expect to begin with. Instead, our focus was primarily on clothing and positioning. Despite the lack of graphic violence, these scenes can still be quite unsettling. Yes, we consulted references to ensure accuracy, and I made an effort to address any concerns raised by those who found it disturbing, without pressuring them in any way.

That is very great to hear. It was rough just walking up on that, I would say.

As a gamer, I concur with your sentiments. Indeed, the objective of the game is to mirror the harsh realities of human behavior towards each other. It’s baffling, not in a morbid sense like some people’s fascination with serial killers, but more so in trying to understand the underlying motivations behind such actions.

For instance, imagine waking up one day and hearing that your longtime neighbor who ran the local store for 25 years is now targeted for violence. It’s hard to comprehend, isn’t it? This is not a far-fetched scenario; it’s a grim reflection of how quickly relationships can turn sour in certain societies.

The question that lingers in my mind is, “Why do we behave this way?” It’s perplexing and almost surreal. The ethnic divide in a country can lead to such sudden and violent shifts in allegiance. Yet, it’s this very complexity and the lack of understanding that makes the game so impactful.

In particular, the mass grave scene serves as a powerful reminder of the atrocities humans are capable of inflicting upon each other. I believe it’s crucial to portray these events in games, not to glorify them, but to provoke thought and encourage discussions about the root causes of such actions.

Without a doubt, I entered and retrieved the letter my wife required. To be honest, I was quite determined, saying to myself, “I won’t leave this place until I uncover whatever it might be.

A: Look here, that action didn’t stem from any particular purpose. It wasn’t a specific task, it wasn’t a demand, and there was some doubt about whether it needed to be done or not. The desire for a definite outcome was what drove you, and that was all. Does this method always work? Likely not, as efficiency can vary. It’s challenging and we’re still figuring things out, but in this case, it managed to catch your attention.

The Monsters of Emotion

A: I brought up the subject of monsters earlier. Would you be interested if I shared some insights on how I went about creating their designs?

The theme revolves around the fact that some of humanity’s most horrific actions have been driven by strong emotions, although they are not the only factor. It’s this inherent irrationality within us that history shows can lead people to carry out such acts when societal norms break down and order disintegrates. The game focuses on emotions, but it’s important to clarify that I don’t want players causing harm to any real humans.

We understood that we required creatures to fit our narrative, and so, we pondered, ‘What if these creatures were actual embodiments of human feelings?’ This way, they would be integral to the story and its background—you’ll uncover why they’re this way, why they exist, whence they emerge, and how they take shape. In essence, that’s what makes them emotional manifestations, but what does a feeling resemble?

Instead of creating Rage as a giant monster with large arms, which has been done previously, we opted for something unique – geometric shapes that embody both monstrous roars and faintly audible human voices.

Yeah, that caught me off-guard more than once.

The concept is clear. Additionally, you’ll discover the rationale behind it, its origin, and then there are the Hollow Walkers, which are essentially hollow humanoid forms. Next, there’s the Haze that represents the actual emotion. It might seem a bit humorous or absurd, but it underscores the importance of guidance in design. When creating something, we must draw inspiration from various sources, so we focused on how an emotion doesn’t independently move. If you’re filled with anger, grief, or any other strong emotion, it can have an impact. However, this impact has a boundary; it cannot move by itself. For example, if you wake up angry in the morning, you can’t simply send your anger to work. You have to get in your car, drive to work, and bring that anger with you.

Perhaps, in your journey, you might stumble upon something delightful that brings you joy instead of anger, and this positive energy is what you carry into your work environment. From this idea, we derived that emotions have boundaries and those who embody them are called Emotion Walkers, a sort of representation of human beings experiencing these feelings. We’re yet to disclose the origins or causes of these emotions, but the Emotion Walker, like a person, internalizes the emotion, which is referred to as the Haze.

Currently, the Hollow Walker is capable of transporting an emotion to another location. This concept came to us when we considered that emotions can’t travel independently. It has influenced our design of the tether connecting the Hollow Walker and the Haze, which serves as a conduit for these emotions.

A: You reached the boss inside the labyrinth where the Mist separates into several adversaries. Could you share with me your strategy when facing bosses?

To set the record straight, this game isn’t an indie production, but it doesn’t fall under the Triple-A category either. It operates on a more restricted budget. When it comes to creating distinctive boss designs, especially those of large scale, there are significant expenses involved: time, labor, resources, and various other factors.

In the concluding stages of our game, such as dungeons and other locations, we aim to offer you an unprecedented gaming experience, something distinct from anything else within the game, even a touch of the unusual or exotic. While we may recycle certain assets in these areas, rest assured, we’ll be using the least captivating ones here. We invest significantly more in other locations. Some of these new areas might feature traditional-feeling assets, but they often function more as events rather than conventional boss battles. These events serve as a unique challenge type you haven’t encountered before, creating a boss encounter, though they aren’t designed to be jaw-dropping spectacles like ‘Oh my goodness, here comes a dragon crafted exclusively for this’. The reason being, it’s primarily a budget consideration.

In our game, unlike others with a similar budget, we opted to allocate resources elsewhere instead of creating exceptionally unique bosses. However, rest assured, the challenges are distinctive in their own way and offer something special. Despite this decision, we ensured that the climactic endings of these encounters remain engaging.

Yeah, I had fought a few Hazes before, but I was not expecting it to split. It was a cool moment.

A: We’re continuing to balance the combat to strike a good equilibrium for the standard gameplay. The full version will include a traditional storyline, easy, hard, and other difficulties, as well as options for customizing your experience. However, we’re still perfecting the base experience by refining the AI and adjusting elements like the boss fight.

Q: What do you hope players take from the game once it’s out?

When people wrap up their gaming sessions on their console or computer, I wish that the game remains etched in their thoughts. They ponder over the events they witnessed, their interpretations, the message it conveys, and what they plan to do next time they play. To me, this is the essence of a captivating game, one that hooks you. Although the mechanics may not be flawless, it leaves an impression, doesn’t it? Consider BioShock as an example. The shooting isn’t as impressive as Call of Duty, but the overall gameplay is a bloody work of art, if you get my drift? You carry the experience with you after you’re done playing, and the shooting was enjoyable too.

To my mind, that game truly shines as excellent. It lingers within you even after you’ve turned it off – precisely this kind of experience is what I yearn for.

[END]

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2025-05-30 16:05